By Janet Serra

Posted: 06/21/2017 16:28:41

The Glass House is pleased to present the first public installation world-wide of the complete set of Robert Indiana's ONE through ZERO, ten 6-foot-high COR-TEN steel sculptures that were conceived in 1980 and executed in 2003. Visitors will find these monumental works located in a field just to the south of the Glass House itself, where they have been placed to accentuate the edge of the hill that separates the house from the pond and pavilion below. Taking advantage of the changes of level in the landscape and the visual connections with many highlights of the property, the installation conjoins Philip Johnson and Robert Indiana's visionary approach to industrial materials, proportion, form and the understanding of space.

The positioning of the sculptures allows them to be seen directly from the Glass House, while establishing sightlines from the artworks to other significant pavilions and structures, including the Studio, Ghost House and Da Monsta. The site is also notable as an area where Philip Johnson considered placing a small chapel toward the end of his life. The installation of ONE through ZERO is in keeping with Johnson's approach to placing pavilions and structures within the landscape.

The Glass House welcomes visitors to explore how these powerful works interact with our landscape and respond to light and shadow throughout the seasons. The work will remain on view through November 2017.

Indiana has stated that each number represents a stage of life, beginning with One (birth) and continuing through Nine (old age) and Zero (death). According to renowned art historian John Wilmerding, Indiana's numbers can be considered akin to 19th-century artist Thomas Cole's series of paintings on the ages of man. Indiana has noted that a 19th-century metaphorical print entitled The Life and Age of Man: Stages of Man's Life from the Cradle to the Grave, inspired him as he created this sculptural series. This print was given to Indiana while he was an artist in residence at Dartmouth College in 1969 and remains in his personal collection.

As the Glass House commemorates its 10th year as a site of the National Trust for Historic Preservation, this 10-sculpture installation is especially appropriate, since COR-TEN steel was a material favored by Johnson and lines the paths linking the Glass House and its sister building, the Brick House. The combination of monumentality, wit and underlying seriousness of intention makes ONE through ZERO especially suited for exhibition at this site, which at its heart continues to celebrate the ethos of Philip Johnson and David Whitney.

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